Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 145-147). Also available for download via the World Wide Web; free to University of Oregon users.

This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.

Este trabalho oferece um estudo das configurações intervalares contidas no grupo de peças para piano intitulado Seis Pequenos Quadros (1981) de Bruno Kiefer (1923- 1987). A análise toma como referencial teórico a obra Introduction to Post-Tonal Theory de Joseph Straus, a qual elucida a teoria dos conjuntos. Objetivou-se encontrar padrões que fornecem coerência ao discurso das peças isoladamente e como um todo. Para tanto, além da análise de conjuntos, fez-se necessário o levantamento de características estruturais, temporais e de textura. Todos estes parâmetros, os quais contribuem para um equilíbrio entre unidade e diversidade no discurso desta coleção de peças, foram investigados a partir dos gestos musicais característicos do estilo de Kiefer.

Dans la thèse on introduit et on étudie une généralisation spatiale sur $\R^d$ du quantile réel usuel sous la forme d'une surface quantile via des formes $\phi$ et d'un point d'observation $O$. Notre point de départ est de simplement admettre la subjectivité due à l'absence de relation d'ordre totale dans $\R^d$ et donc de développer une vision locale et directionnelle des données. Ainsi, les observations seront ordonnées du point de vue d'un observateur se trouvant à un point $O \in \R^d$. Dans le chapitre 2, on introduit la notion du quantile vue d'un observateur $O$ dans la direction $u \in \Sd$ et de niveau $\alpha$ via des des demi-espaces orthogonaux à chaque direction d'observation. Ce choix de classe implique que les résultats de convergence ne dépendent pas du choix de $O$. Sous des hypothèses minimales de régularité, l'ensemble des points quantile vue de $O$ définit une surface fermée. Sous hypothèses minimales, on établit pour les surfaces quantile empiriques associées les théorèmes limites uniformément en le niveau de quantile et la direction d'observation, avec vitesses asymptotiques et bornes d'approximation non-asymptotiques. Principalement la LGNU, la LLI, le TCLU, le principe d'invariance fort uniforme puis enfin l'approximation du type Bahadur-Kiefer uniforme, et avec vitesse d'approximation. Dans le chapitre 3, on étend les résultats du chapitre précédent au cas où les formes $\phi$ sont prises dans une classe plus générale (fonctions, surfaces, projections géodésiques, etc) que des demi-espaces qui correspondent à des projections orthogonales par direction. Dans ce cadre plus général, les résultats dépendent fortement du choix de $O$, et c'est ce qui permet de tirer des interprétations statistiques. Dans le chapitre 4, des conséquences méthodologiques en statistique inférentielle sont tirées. Tout d'abord on introduit une nouvelle notion de champ de profondeurs directionnelles baptisée champ d'altitude. Ensuite, on définit une notion de distance entre lois de probabilité, basée sur la comparaison des deux collections de surfaces quantile du type Gini-Lorrentz. La convergence avec vitesse des mesures empiriques pour cette distance quantile, permet de construire différents tests en contrôlant leurs niveaux et leurs puissances. Enfin, on donne une version des résultats dans le cas où une information auxiliaire est disponible sur une ou plusieurs coordonnées sous la forme de la connaissance exacte de la loi sur une partition finie. / The main issue of the thesis is the development of spatial generalizations on $\R^d$ of the usual real quantile. Facing the usual fact that $\R^d$ is not naturally ordered, our idea is to simply admit subjectivity and thus to define a local viewpoint rather than a global one, anchored at some point of reference $O$ and arbitrary shape $\phi$ with the motivation of crossing information gathered by changing viewpoint $O$, shape $\phi$ and $\alpha$-th order of quantile. In Chapter 2, we study the spatial quantile points seen from an observer $O$ in a direction $u \in \Sd$ of level $\alpha$ through the class of the half-spaces orthogonal to the direction $u$. This choice implies that the convergence theorems do not depend on the choice of $O$. Under minimal regularity assumptions, the set of all quantile points seen from $O$ is a closed surface. Under minimal assumptions, we establish for the associated empirical quantile surfaces the convergence theorems uniformly on the quantile level and the observation direction with the asymptotic speed and non-asymptotic bounds of approximation. Mainly, we establish the ULLN, the ULIL, the UCLT, the uniform strong invariance principle and finally the Bahadur-Kiefer type embedding, with the approximation speed rate. In Chapter 3, all the results of the previous chapter are extended to the case where the shapes $ \phi $ are taken in a class more general (functions, surfaces, geodesic projections, etc) than orthogonal projections (half-spaces). In this general setting, the results depend strongly on the choice of $ O $. It is this dependence which permit to draw statistical interpretations: modes detection, mass localization, etc. In Chapter 4, some methodological consequences in inferential statistics are drawn. First we introduce a new concept of directional depth fields called altitude fields. In a second application is defined a new distances between probability distributions, based on the comparison of two collections of quantile surfaces, which are indexes of the type Gini-Lorrentz. The convergence with speed of the empirical quantile measures for these distances, can build different tests with control of their level and their power. A third use of the quantile surfaces is for the case where $ \alpha = 1/2$. Finally, we give a version of our theorems in the case where auxiliary information is available on one or more coordinates of the random variable. By assuming known the probability of the elements of a finite partition, the asymptotic variance of the limiting process decreases and the simulations with few points clearly shows the reframe of the estimated surfaces to the real ones.

Este trabalho oferece um estudo das configurações intervalares contidas no grupo de peças para piano intitulado Seis Pequenos Quadros (1981) de Bruno Kiefer (1923- 1987). A análise toma como referencial teórico a obra Introduction to Post-Tonal Theory de Joseph Straus, a qual elucida a teoria dos conjuntos. Objetivou-se encontrar padrões que fornecem coerência ao discurso das peças isoladamente e como um todo. Para tanto, além da análise de conjuntos, fez-se necessário o levantamento de características estruturais, temporais e de textura. Todos estes parâmetros, os quais contribuem para um equilíbrio entre unidade e diversidade no discurso desta coleção de peças, foram investigados a partir dos gestos musicais característicos do estilo de Kiefer.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-10-31Bitstream added on 2014-06-13T20:08:24Z : No. of bitstreams: 1 kiefer_ln_me_ia.pdf: 11249938 bytes, checksum: ff96663657331f37e03baf9804483c09 (MD5) / Esta pesquisa aborda a íntegra das canções para voz aguda e piano do compositor Bruno Kiefer compostas em 1957/58 e 1978, sobre poesias de Mário Quintana, Fernando Pessoa, Lara de Lemos e José Santiago Naud. O foco deste trabalho consiste em fornecer subsídios para a performance das canões, oferecendo aos cantores informações sobre o modo como o compositor tratou a relação entre música e poesia nestas obras, dentro de uma perspectiva pós-moderna. Além do objetivo principal desta pesquisa, procuramos no decorrer do trabalho contextualizar o período de criação das canções que integram o corpus da pesquisa; conhecer os tipos de relações possíveis entre música e poesia, levantando questões teóricas, críticas e metodológicas a partir das idéias de músico, poeta e estudiosos do assunto; verificar a existência de gestos musicais e poéticos recorrentes e como eles se associam; identificar os processos de colocação de texto em música por Kiefer comuns às diferentes canções, num processo de autocitação, para conhecer o estilo do compositor. A coleta de dados para a contextualização de gênese das obras, focado na interação do compositor com o meio onde compunha, foi realizada por meio da pesquisa bibliográfica e documental. Procedimento adotado também na abordagem histórica do desenvolvimento da relação entre música e poesia, assim como de opiniões diversas sobre o temas incluindo as de Kiefer. O processo de análise lítero-musical flundamenta-se nas idéias de autores como Steim & Spillman e La Rue, considera os parâmetros que o próprio compositor registrou em seus estudos musicológicos e recorre ao conjunto de gestos identificados e nomeados por Cardassi. / This study deals all the songs for high voice and piano bu the composer Bruno Kiefer composed in 1957/58and 1978,with texts by Mário Quintana, Fernando Pessoa, Lara de Lemos e José Santiago Naud. The focus of the study consists in providing linformation for the performance of these songs, principaly the manner in whichthe composer dealt with the relationship between music and poetry in these works, within a post modern perspective In addition to the principal objective of this study, we seek to put in context the period of composition of these songs; to discuss the possibile relationships between music and poetry, raising theoretical, critical and methodological question based on the ideas of musicians, poets and specialistas in the matter to verify the existence or musical and poetic gestures and how they ar associated; and to identify the composer's styles and methods of placling text in music, based on his own writings. The collection of information to contextualize creation of these works, cocussing on the interactio of the composer wlith the means of composition, is the result of bibliografic research and contact with personal documents of the composer. The same process was adopted in the historical treatment of the development of tlhe relationship betwenn mlusic and poetry and diverse opinions on the theme includling thos of Kiefer. The literary/musical analytical process is based on the ideas of authors such as Steim & Spillmanand La Rue and considers parameters which the composer registered lin his musicological studies using the set of gestures indentified and listed by Cardassi.

Este trabalho oferece um estudo das configurações intervalares contidas no grupo de peças para piano intitulado Seis Pequenos Quadros (1981) de Bruno Kiefer (1923- 1987). A análise toma como referencial teórico a obra Introduction to Post-Tonal Theory de Joseph Straus, a qual elucida a teoria dos conjuntos. Objetivou-se encontrar padrões que fornecem coerência ao discurso das peças isoladamente e como um todo. Para tanto, além da análise de conjuntos, fez-se necessário o levantamento de características estruturais, temporais e de textura. Todos estes parâmetros, os quais contribuem para um equilíbrio entre unidade e diversidade no discurso desta coleção de peças, foram investigados a partir dos gestos musicais característicos do estilo de Kiefer.

Orientador: Carlos Fernando Fiorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:31:49Z (GMT). No. of bitstreams: 1 KellerJunior_DemervalAires_M.pdf: 6084358 bytes, checksum: e26a89f78ead7c534bdb4945db09125d (MD5) Previous issue date: 2009 / Resumo: O presente trabalho tem como objeto de estudo os doze Madrigais Gaúchos para coro de câmara, compostos por Bruno Kiefer. Seu propósito é a preparação do regente e do coro para uma execução consciente. Esta pesquisa aborda a relação do compositor com a prática coral, especialmente com o Coral da Faculdade de Filosofia da Universidade Federal do Rio Grande do Sul. A análise textual discrimina os fundamentos estruturais dos poemas originais e sugere uma possibilidade de decodificação, a fim de ajudar na compreensão de seu conteúdo. A investigação musical identifica a estratégia compositiva de cada Madrigal, apontando elementos formais, melódicos, rítmicos e harmônicos, bem como a colocação do texto em música. A parte destinada à preparação e execução expõe especialidades melódicas, rítmicas e harmônicas e sugestões de pronúncia, articulação, caráter, afinação e condução, que possam auxiliar o regente na interpretação das peças. Por fim, é apresentada uma edição crítica, revisada a partir da do manuscrito. / Abstract: The object of this paper is the study of the twelve "Madrigais Gaúchos" for chamber choir by Bruno Kiefer aimed at the choral conductor in preparation for a conscious performance. This research examines the composer's experience with choirs, especially those with the "Coral da Faculdade de Filosofia da Universidade Federal do Rio Grande do Sul" (Chorus of the Philosophy Institute of Federal University of Rio Grande do Sul). Textual analysis explores structural elements of the original poems suggesting possible text decodification for content understanding. Investigation of musical elements identifies compositional strategies in each Madrigal pointing out structural, melodic, rhythmic and harmonic elements and text-setting. The chapter designed for the preparation and performance of these madrigals offers suggestions for pronunciation, articulation and character. It also observes peculiarities in melody, rhythm, harmony, voice-leading and intonation with the sole purpose to help conductors in their interpretation of these compositions. Finally a critical edition is presented based on the revision of the original manuscript. / Mestrado / Mestre em Música

Über Gebiss und Kieferrelation von Pharao Tutanchamun existieren kaum Berichte. Unsere kephalometrische Untersuchung ergab eine mandibuläre Retrognathie sowie eine milde maxilläre Prognathie. / About pharaoh Tutankhamun‘s dentition only a few reports exist. Regarding the jaw relation, our cephalometric investigation revealed a mandibular retrognathism and a mild maxillary prognathism.

In der vorliegenden Dissertation wurde anhand von 1042 extraoralen Fotos im Profil und en face untersucht, wie sich das Wachstum longitudinal bei 166 gesunden Kindern, je zehn Kindern mit isolierter Gaumenspalte, einseitiger Lippen-Kiefer-Gaumenspalte sowie doppelseitiger Lippen-Kiefer-Gaumenspalte operiert nach dem Leipziger Konzept entwickelt, sowie inwiefern sich die einzelnen Gruppen in verschiedenen Altersstufen voneinander unterscheiden. Dazu wurden pro Gruppe jeweils fünf Jungen und fünf Mädchen kaukasischer Herkunft, geboren in den Jahren 1994 bis 2001, mit einer nichtsyndromalen Spalte ausgewählt, die ab der Geburt über mehrere Jahre hinweg fotografiert wurden. Diese Fotos wurden digitalisiert und denen von Kontrollpatienten gegenüber gestellt. Anhand von Winkeln der klassischen Morphometrie und Grafiken und Statistiken der geometrischen Morphometrie wurden die Veränderungen im Wachstum analysiert und die Kontrollpatienten mit dem Leipziger OP-Konzept verglichen. Es konnte gezeigt werden, dass die geometrische Morphometrie durchaus geeignet ist, das Gesichtswachstum anhand von extraoralen Fotos zu beurteilen. Weiterhin konnte bestätigt werden, dass mit dem Leipziger Konzept zur funktionellen Rehabilitation von Patienten mit Lippen-Kiefer-Gaumenspalten sehr gute Operationsergebnisse und vor allem Langzeitergebnisse erzielt werden können.